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Click here to subscribeAfter Laurence Stephen Lowry (1887-1976), "The Level Crossing, Burton On Trent", signed in pencil in the margin, with Fine Art Trade Guild blindstamp, from an edition of 850, colour reproduction print, image size 41 x 57cm.; 16 x 22.5in. Artists` Resale Right (droit de suite) may apply to this lot.
After Laurence Stephen Lowry R.A. (British,1887-1976), "Our Town", signed and numbered 423/850 in pencil in the margin, published by Grove Galleries Ltd, Manchester, colour reproduction print, image size 42.5 x 61.5cm.; 16.75 x 24.25in. Artists' Resale Right (droit de suite) may apply to this lot.
After Laurence Stephen Lowry R.A. (1887-1976), "The Football Match", numbered 235/1500 in pencil in the margin, with Grove Fine Art blindstamp, with certificate of authenticity on verso, black and white reproduction print from an original pencil drawing, image size 28 x 39.5cm.; 11 x 15.5in.
Trevor Grimshaw (1947-2001), "Fence and Viaduct", three preparatory graphite drawings together with two signed limited edition prints showing the three layers in unison, each print signed and numbered in pencil in the margin, image size 24 x 22cm.; 9.5 x 8.5in and each drawing 38 x 27.5cm.; 15 x 10.75in (5).
William Roffe from a drawing by F. Roffe, 19th century, "St. George" from the medal by W. Wyon R.A. executed for His Royal Highness Prince Albert, tondo, engraving, diameter 23.5cm.; 9.25in in elaborate gilt frame.Condition Report: The print is in very good, original condition with no obvious faults to report. The print is framed and glazed as can be seen. There are just one or two minor knocks and losses to the frame commensurate with age most notably in the bottom centre edge.
After Laurence Stephen Lowry (1887-1976), "Two Brothers", signed in pencil in the margin, with Fine Art Trade Guild blindstamp, from an edition of 850, published by Adam Collection, 1972, colour reproduction print, image size 60.5 x 30.5cm.; 23.75 x 12in. Artists` Resale Right (droit de suite) may apply to this lot.
THREE LATE 19TH/EARLY 20TH CENTURY JAPANESE WOODBLOCK PRINTS, believed to be of actors, all unframed and in card mounts, sizes comprise of two figures in an interior, approximately 34cm x 23.5cm, male actor with mask on the floor, approximately 35cm x 24cm and figure by a river, approximately 36cm x 24cm, together with a mounted postcard of a Japanese woodblock print (4)
A Caughley trio of coffee cup, tea bowl and saucer transfer-printed in the Three Flowers and Butterfly pattern, circa 1776-80, S mark, cup 6.8cm high and saucer 12.3cm diameter (3)Provenance: Wright Collection no.248 purchased in 1981 from Sewell. Literature: See Ironbridge 1999 no.216. This is the early version of this print.
A Caughley coffee cup and saucer transfer-printed in the Apple and Damson pattern, circa 1778-85, unmarked, cup 6.7cm high and saucer 12.4cm diameterProvenance: Wright Collection no.737 purchased in 2005 from Tim Olney. This cup and saucer date from the middle production of this print by Caughley; it is therefore interesting to compare with collection number 818.
A Caughley sauce boat transfer-printed with the Birds in the Tree pattern, circa 1777-82, unmarked, 8.5cm high (cracked)Provenance: Wright Collection no.589, purchased in 1998 from S. Millington. Literature: Ironbridge 1999 no.90. This is a rare print to find on tableware. This is further illustrated in Nick Pane's, 'British Porcelain Sauceboats of the 18th Century', p247.
A Caughley ink pot transfer-printed with the Stalked Fruit pattern, lacking cover, circa 1776-82, C mark, 5.5cm highProvenance: Wright Collection no.198, purchased in 1980 from Lindum. Literature: See Ironbridge 1999 no.5 for a pounce pot in the same pattern. Otherwise this shape is unrecorded, with an unglazed flat base. This is an unusual print which also occurs on early tea ware and looks like a plum or similar with a stalk.
A Caughley reeded sauce boat, transfer-printed in the Chrysanthemum pattern, with splayed foot, kinked handle and curled thumb piece, circa 1778-83, unmarked, 7.4cm highProvenance: Wright Collection no. 320, purchased in 1984. Literature: See Godden pl. 175; The Caughley Society, Caughley Blue and White Patterns, p.74 and Newsletter November 2013 No.36.This print was also used on tea wares (collection no.745) but was not recorded on sauce boats. Worcester also used this pattern, though this was painted rather than printed.
A Caughley dish or large Royal fluted dish transfer-printed with the Sliced Apple pattern, circa 1785, 21.2cm diameter (manufacturing faults to foot rim)Provenance: Wright Collection no. 959, purchased in 2014 from 'Tessadragon' (Ebay), sold as Worcester. Too deep for a saucer dish, neither does the shape of this dish match any of the salad bowls or dessert dishes in Geoffrey Godden's Caughley and Worcester Pattern book. Furthermore, this print does not usually appear on Royal flute.
A Caughley dry mustard pot transfer-printed in the Travellers pattern, circa 1778-85, S mark, 9cm high (chip to rim)Provenance: Wright Collection no.179, purchased in 1979 from Venners.Literature: Stockspring Paul Sandby Exhibition, 2003 and Newsletter December 2003 No.16 p.14. Originally this mustard pot came with an incorrect cover in the Three Flowers pattern. Just prior to this mustard pot being returned after being on show in the Paul Sandby Exhibition the dealer Rod Jellicoe contacted Maurice Wright saying that he had recently obtained a dry mustard pot in the Three Flowers pattern. Upon investigation, Wright found that Jellicoe's mustard pot also had the incorrect cover. Somewhat remarkably, this incorrect cover was in the Travellers print and a swap was therefore made.After 1720, the processing of mustard seeds in a mill would result in a fine flour which came commercially to be known as 'Durham mustard'. Mustard pots such as these would contain either dry or prepared mustard and were considered by contemporary cooks to be a valuable asset in the kitchen.
A Sunderland 'Sailor's Return' pink lustre earthenware jug, circa 1854-56, the enamelled print flanked by a maritime verse, unmarked, 13.5cm highImages of ‘the Sailor’s Farewell and Happy Return’, popular from the mid-18th Century in engravings or on ceramic plaques as well as on jugs and bowls, were used as a mark of patriotism during the Crimean War. A contemporary account records that ‘The Sailor’s Farewell’, hung on the wall when the sailor left shore, would be swapped for ‘Return’ when he came safely home.
A Caughley oval butter dish and cover transfer-printed in the Pine Cone and Three Flowers patterns, circa 1777-82, unmarked, 13.8cm wide (florets missing, chip to cover)Provenance: Wright Collection no.971 in 2015 from Bigwoods.Literature: Newsletter February 2016 No.65, p.21. The prints around the side of the butter dish are the secondary print found on the Pine Cone pattern salad dish. This use of the Pine Cone print on a butter dish has otherwise not been recorded.
A Caughley pickle leaf dish transfer-printed with the Pear pattern, circa 1780-85, S mark, 9.6cm wideProvenance: Wright Collection no.850, purchased from Mellors & Kirk in 2010 (ex 'Pickle dish man' collection). Literature: Newsletter August 2010 No.43 p19f. Pear is one of the secondary patterns associated with the Pine Cone print.
Kawase Husai (1883-1957), a woodblock print entitled Hiejin Shrine in Snow; and five other woodblock prints including Kunio Kaneko (1947-) Tabi (matsuri); Toshusai Sharaku (act. circa 1794), Actor with Sword; Ono Bakufu (1888-1976) Two Hawks in Flight; and two other unidentified nature studies. (6)
Two Caughley asparagus servers transfer-printed with the Fisherman or Pleasure Boat patterns, circa 1780-90, Sx mark to one with further mark S to the main body of the print, widest points 7cm acrossProvenance: Wright Collection no. 714 with the sideways print was purchased in 2004 from M. Edgell and no.238 with the S mark to the front in 1981 from Charnwood. This rare feature of the S mark on the front of the server was caused by a fold in the tissue when creating the transfer. Articles about pieces marked to the front have appeared in Caughley Newsletters such as May 2014 No.58 and June 2007 No. 30, p.17.Asparagus was first introduced by the Romans and this young shoot from a cultivated plant of the lily family (and a distant cousin of the onion!) came back to our shores in the reign of Henry VIII. Such was its popularity that by the 18th century we grew more asparagus than any other country, according to the compendium 'England in Particular'.
A Caughley mug transfer-printed with Stalked Fruit and a Fox, circa 1776-80, S mark, 10cm high and 12.5cm diameterProvenance: Wright Collection no. 631, purchased in 2000 from R. Sillito. Literature: Ironbridge 1997, no. 7 and The Caughley Society, Caughley Blue and White Pattern, p.206.This is a very early example which is slightly misshapen, with no glaze to the base and featuring a fuzzy pattern as was sometimes the case with early pieces. Not only is this print is the rarer, earlier version of the Stalked Fruit pattern but the addition of the Fox is exceptionally rare with only four examples known.
A Caughley mask-head jug printed with the Stalked Fruit pattern, circa 1785-92, Sx mark. 21.5cm high (hole to base)Provenance: Wright Collection no. 333, purchased in 1984 from Worcester Antiques. This is a rare example of the sliced apple print on a cabbage leaf jug with particularly fine moulding and print quality. One of Maurice Wright's prize pieces. Literature: Ironbridge 1999 no.16.
Two Caughley reeded tea bowls with internal cell diaper borders, circa 1778-85, one with C mark, the second unmarked though featuring a central Rose Hip design, tallest 5cm high (one split in two and re-glued) (2)Provenance: The taller, unmarked and re-glued bowl is Wright Collection no. 860 and was purchased in 2010. This is the rarer version with a turned foot and internal hip print. The second example is Wright Collection no. 350, purchased in 1985 from Venners and features a double blue line border near the foot rim.
Three Caughley slop bowls transfer-printed with the Bell Toy and Mansfield patterns, and a full version of the early Three Flowers pattern, circa 1775-83, C and S marks, 15cm and 15.3cm diameter (cracked, chipped) (3)Provenance: The Bell Toy bowl is Wright Collection no.958, purchased in 2014 from Chiswick Auctions. The Mansfield pattern bowl is Wright Collection no. 775, purchased in 2007 from S. Millington. The Three Flowers bowl is Wright Collection no. 976, purchased in 2015 from Bullith.Literature: See Caughley Newsletter 2016 on the Bell Toy pattern. This is an interesting display of this pattern, the main section of the print lacking the two smaller pots, the vase and large flower which are then broken up around the subsidiary sections of the bowl.
A Caughley vase transfer-printed with an Apple pattern, circa 1778-86, within associated border, unmarked, 10.2cm high (in pieces, re-glued)Provenance: Wright Collection no. 441, purchased in 1993 from Ravenscroft. Literature: Ironbridge 1999, no. 19 and Newsletter November 2009, No.40 p.20.This vase is an unusual form, which is best identified as Caughley when comparing with the print on a known marked saucer.
A Caughley coffee cup transfer-printed in the Birds in Branches pattern, circa 1780-85, unmarked, 6.9cm high, together with a Coalport saucer of the same design, circa 1800-10, unmarked, 12.5cm diameter (2)Provenance: Wright Collection no.'s 916 and 938.Literature: See Newsletter May 2014 No 58 pp. 26-7, this is a rare conjunction of print and border.
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